Tiempo de lectura: 4 minutos
Mishkin Gallery, New York, USA
29 de agosto de 2019 – 1 de noviembre de 2019
Terremoto is pleased to present the exhibitions selected for Terremoto Art Weekend NYC 2019, an initiative gathering more than 20 institutions, galleries and spaces in New York City featuring Latin American, Latinx and Afrodescendant artists. If you are in town, make sure you rsvp for a group walkthrough of each show at email@example.com and stay tuned on our social media. Our full program here
For her first solo exhibition in New York, artist Minerva Cuevas presents a body of video work that makes concise connections between the consequences of dominant economic ideologies and urgent, global ecological and social issues.
Gathering eight video installations and projections, Disidencia (Dissent) brings together a range of visual strategies that Cuevas has deployed to engage with such topics as the decay of the Mesoamerican Barrier Reef, corporate America’s insatiable brand of globalization, and a video cartography of protests and resistance throughout her home city. At a time when divisive politics are on the rise and deregulation and privatization seem almost unavoidable, Cuevas shows us an alternative to such dangers and empowers our own social relations.
“Titled after one of Cuevas’s emblematic works, Disidencia serves to establish opposition and active contestation,” explains Gabriel Bogossian, who has co-curated the exhibition alongside Solange Farkas director of Associação Cultural Videobrasil. The exhibition was first presented at Videobrasil’s exhibition space in fall 2018 and will now make its debut in New York.
Arranged in the gallery, works such as Disidencia (2007–ongoing), A Draught of the Blue (2013), and Donald McRonald (2003) suggest the latent possibility of revolt underlying everyday life. No Room to Play (2019)—a new work that explores the importance of access to public space, education, and play—will be included and resonates with Baruch’s founding as the Free Academy in 1847, the first free public university in the United States.
A free book with texts by Gabriel Bogossian and Solange Farkas (Videobrasil), Alaina Claire Feldman (Mishkin Gallery), and Clayton Press (author, professor at NYU and independent scholar) has been produced as part of Disidencia at the Mishkin Gallery.
Disidencia has been curated by Gabriel Bogossian and Solange Farkas. It was first presented at Galpão VB (Associação Cultural Videobrasil) in fall 2018. The New York presentation has been organized by Alaina Claire Feldman. Major support is provided by Hedwig Feit and the Schindler-Lizana Fund for Latin American Arts and Culture. The exhibition is made possible by the Baruch College Fund and the George and Mildred Weissman School of Arts and Sciences. Additional support has been provided by kurimanzutto, Mexico City/New York.
Minerva Cuevas (b.1975, Mexico City) is an artist creating research-based projects. She is the founder of Mejor Vida Corp. (1998) and the International Understanding Foundation (2016) and a member of irational.org since 1999.
Some of her leading exhibitions include No Room to Play, daadgalerie, Berlin, Germany (2019); Fine Lands, Dallas Museum of Art, United States (2018); Feast and Famine, kurimanzutto, Mexico City, Mexico (2015); Minerva Cuevas, Museo de la Ciudad, Mexico City (2012); Landings, Cornerhouse, Gallery 1, Manchester, United Kingdom (2011); S.COOP, Whitechapel Gallery, London, United Kingdom (2010); Minerva Cuevas, Van Abbemuseum, Eindhoven, Netherlands (2008); Phenomena, Kunsthalle Basel, Switzerland (2007); On Society, MC Kunst, Los Angeles, United States (2007); Egalité (2007), Le Grand Café–Centre d’art contemporain, Saint Nazaire, France (2007); Schwarzfahrer Are My Heroes, DAAD, Berlin, Germany (2004); and Mejor Vida Corp., Tamayo Museum, Mexico City (2000).
Cuevas’s work has been part of group exhibitions in institutions such as the Museum Ludwig, Cologne, Germany (2016); Museo Jumex, Mexico City, Mexico (2013); Kunsthaus Bregenz, Bregenz, Austria (2013); Musée d’art moderne de la Ville de Paris (MAM/ARC), Paris, France (2012); KW Institute for Contemporary Art, Berlin, Germany (2010); Centre Pompidou, Paris, France (2010); and San Francisco Museum of Modern Art, San Francisco, United States (2008).
Cuevas has taken part in various Biennials, including the 4th Prospect New Orleans, United States (2017); Liverpool Biennial, United Kingdom (2010); 6th Berlin Biennale for Contemporary Art, Berlin, Germany (2010); 9th Biennale de Lyon, France (2007); Mercosur Biennial, Porto Alegre, Brazil (2007); 27th Bienal de São Paulo How to Live Together (2006); Tirana Biennale, Kompleksi-Goldi, Albania (2005); and 8th International Istanbul Biennial, Turkey (2003).
She attended the Escuela Nacional de Artes Plásticas, UNAM (1997); the Edith-Ruß-Haus für Medienkunst residency in Oldenburg (2004); the Deutscher Akademischer Austausch Dienst DAAD in Berlin (2003); the Delfina Foundation residency in London (2000); and the Banff Center for the Arts residency in Alberta, Canada (1998).
Chaired by Solange O. Farkas since 1983, Associação Cultural Videobrasil is dedicated to researching and encouraging the production and dissemination of contemporary art from the world’s Geopolitical South— Latin America, Africa, Eastern Europe, Asia and the Middle East—with a focus on audiovisual production. It is also committed to preserving and activating one of the most important video collections in Latin America, which attracts researchers from all over the world. Besides the Contemporary Art Biennial Sesc Videobrasil, which takes place in odd years, the association holds exhibitions in partnership with national and international institutions, designs and publishes print publications and produces documentaries, seminars on contemporary culture, workshops, meetings with artists and researchers and artist residency programs, linked to a wide network in five continents.